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WE CENTRAL CHILDREN'S ROOM
DONNELL LIBRARY CENTER

. 53 STREET
NEW YORK, N.Y. 10019

RHYTHMIC GAMES

AND

DANCES FOR CHILDREN

B Y THE SAME A UTHOR

OLD ENGLISH GAMES AND

PHYSICAL EXERCISES. Post 4to, 2s.

LONGMANS' READING, WRIT-
ING AND DRAWING SHEETS FOR
USE IN INFANT SCHOOLS. Consists
of 14 Sheets (two of which are in Colour),
each measuring 48 in. x 36 in., printed on
tough Manilla paper, and mounted on
roller. 105. 6d. net.

LONGMANS, GREEN AND CO.

J3NDON, NEW YORK, BOMBAY, AND CALCUTTA

RHYTHMIC GAMES

AND

DANCES FOR CHILDREN

MRS. FLORENCE KIRK

(FLORENCE HEWITT)

PRINCIPAL, THE FROEBELIAN SCHOOL, BRADFORD, YORKSHIRE

AUTHOR OF

'OLD ENGLISH GAMES AND PHYSICAL EXERCISES," "ELEMENTARY LESSONS

IN FREE-ARM DRAWING," "EDUCATIONAL HANDWORK AND

SYSTEMATIC COLOUR INSTRUCTION"

LONGMANS, GREEN AND CO.

39 PATERNOSTER ROW, LONDON

NEW YORK, BOML.'.v, ,.yL. CALCUTTA
1914

THE NEW YORK
PUBLIC LIBRARY

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CONTEXTS

Introduction .......

Part I. Exercises and Games for Children under Five

II. Games without Music

,, III. Old English Games and Dances .

IV. Swedish Games and Dances .

„ Y. Various Marches and Steps .

VI. Appendix ......

PAGE

vii

Rhythmic Games and Dances
for Children

INTRODUCTION

RHYTHM is a fundamental principle of life, and childhood is the
time when the physical nature is most sensitive to rhythmical
movement. When this movement is accompanied by music, the
latter should be appropriate and distinctive, for music and rhythm
are organically related.

M. Jacques-Dalcroze, whose system of Eurhythmies is attracting so
much attention in the educational and musical world, maintains that move-
ment, being instinctive in man, the study of music should begin by careful
and experimental teaching of movement. He says: "This is based in
earliest childhood on the automatic exercise of marching, for marching is
the natural model of time measure. By means of various accentuations with
the foot I teach the different time measures. Pauses (of varying lengths) in
the marching teach the children to distinguish durations of sound; move
ments to tune with the arms and the head preserve order in the succession
of the time measures, and analyse the bars and pauses."

The beneficial effect of rhythmical movement in the case of mentally
deficient children is already recognised, and it is claimed that in the case of
normal children the effect of its more elaborate use will be greater, and that
among other things, neurasthenic tendencies may be removed.

The importance of marching for young children cannot be too strongly
emphasized. That it supplies a real need of children's growing vitality is
shown by their delight in following one another round the room, keeping

viii RHYTHMIC GAMES AND DANCES EOR CHILDREN

time to the music, clapping, waving arms, hopping, skipping, running, &c,
as the rhythm and tunes suggest.

It is not demanding too much to say that exercise of this kind should be
taken for five or ten minutes during every school session. The opposite of
this should also be taken frequently, e.g. letting children sit or lie on the floor
listening to various types of music played on an instrument — piano, violin, or
flute. They may be encouraged to suggest names for the different kinds.
The following names were given by a class of children six years of age
during a lesson of this character : Sleep music, dream music, water music,
fairies dancing, giants dancing, march music, walking music.

Just as we aim to cultivate a child's taste in literature by our choice of
stories for telling in school, so should we try to cultivate a taste for beautiful
and harmonious sounds, by the use of good music for marching and songs.

Children should be familiar with musical literature, including folk-tunes,
national airs, and musical gems by various composers. A useful book of this
kind is the Daily Sketch Piano Folio for young players, price is., which
contains over ioo pieces.

If children are accustomed to hearing the same tunes played for march-
ing they soon cease to listen, and thus a valuable means of sense training is
lost. The silence or "listening" lessons of the Montessori Method should
stimulate interest in this direction. We cannot have musical culture without
musical stimuli, and these should be given liberally to young children.

While the tunes are being played the children should tap with the fore-
finger of the right hand on the palm of the left hand, and try to count the
beats of the rhythm. This forms a kind of guessing game which is greatly
enjoyed ; the teacher should be careful to mark the accent very distinctly or
much of the beauty of the rhythm is lost.

Dancing to be truly educational must be an outcome of the joy of living,
it must be a means of self-expression as well as a means of physical
culture.

It begins most naturally with those Nursery Games, expressing some
story, which combine song with action, e.g. Oranges and Lemons, Here we
come up the Green Grass, Oats and Beans and Barley, London Bridge,
Round and Round the Village, &c.

In these earliest song-dances there is little that is formal, the only

INTRODUCTION ix

element of "drill" is in learning to keep time and tune. The aesthetic
element of song and rhythm has peculiar value in making for the control
and courtesy which is so much needed in the free play period of childhood.
Besides the elements of interest supplied in repetition, rhyme, rhythm,
gesture, choosing, &c, the singing game provides the dramatic situation so
dear to a child's heart. The opportunity for "acting out," as well as for
spontaneous expression, is a great delight to all children.

It is important to remember that the teacher should on no account
expect the children to make gestures or actions exactly alike, or in imitation
of the teacher's pattern. These singing games must not degenerate into
mechanical action songs.

When children have obtained a certain amount of control over their
limbs they are ready for more elaborate games. The Swedish games are
very useful at this period, also the dramatisation of the simple Folk Songs,
e.g. Cock-a-doodle-do, Strawberry Fair, Dabbling in the Dew, &c. (See
English Folk So 'tigs for Schools. By Cecil Sharp.)

To play these successfully, various steps in dancing and tripping should
be mastered, and the simple marching exercises of the younger children
should be continued as "step" exercises, e.g. Heel and Toe March, Giant
and Dwarf, Minuet March, &c.

The children should be encouraged to give their own ideas concerning
the games, for unless they understand the meaning of the words and the
relation of the action to the underlying thought, the spontaneity of the game
will be lost.

The more natural and spontaneous the play the less need is there for
outside or artificial agencies in the matter of dramatisation. Great attention
should be paid to voice culture, the singing is as important as the game.
The habit of shouting is most injurious to the voice, it precludes the
possibility of tuneful or sympathetic singing, and changes what should be
a pure and refining influence into a rude and boisterous gymnastic exercise.
The game should be stopped as soon as ever the singing becomes coarse.
The exquisite precision which music gives to the game should destroy rude-
ness or wildness of manner, without robbing it of fun or merriment. When
voice, feeling, and movement are all in sweet accord, we see indeed an
outward and visible sign of an inward grace born of self-forgetfulness. The

x RHYTHMIC GAMES AND DANCES FOR CHILDREN

teacher must take an active part in children's games, and enter thoroughly
into their enjoyment. Her place may be either (i) in the centre to set the
game going; (2) at the piano, to accompany the singing; (3) among the
youngest children to prevent them making mistakes, and so spoil the game
for the others.

The Methods of Teaching a Game:

1. Teaching and explaining the words first, then the music and the
various actions. The children's suggestions for the actions should always be
encouraged, and, when possible, accepted.

2. Giving the gestures with each line as the natural accompaniment of
the words.

3. Singing the whole game through first with appropriate actions.

When new games and songs are learnt, old ones should not be for-
gotten. It is advisable to keep a list, where the children can see it, of all the
games and songs learnt during the school year, and to keep referring to it ;
even big children like to play the baby games occasionally.

Teachers are advised to send to Novello & Co. for a selected list of
English Folk Songs, Singing Games, and Morris and Country Dances. In
this list they will find that many suitable games and songs are published
singly from i-l-d. to 2d. per copy.

The following remarks are quoted from this list :

" These Singing Games have been preserved by oral tradition over such
a long period of time that they must contain something which is peculiarly
attractive to children. Under the guise of amusement, of a kind that children
dearly love, these games bring into play many of those mental and physical
activities which it is the especial function of education to develop. They
stimulate the dramatic and mimetic faculties, feed the imagination, exercise
the voice and limbs, teach discipline and restraint, and inculcate lessons in
courtesy and good manners. In the early stages of. musical education they
are especially helpful. Distinct utterance of the words is imperative, other-
wise the singing game is simply meaningless — and clear enunciation is the
basis of all good singing. Rhythm, too, can be most easily and most effec-
tively taught when as in these singing games, tune is closely associated with
physical movements. The unpretentious little melodies, moreover, are pure
and wholesome, and serve their purpose with a simple directness which is

INTRODUCTION xi

most convincing; while they are, of course, well adapted to the needs of
immature voices."

In actual practice teachers often find that the children get very tired
with singing and dancing at the same time, so that it is much better with
large classes to let a section of the class sing the words while the other
section takes part in the game. By adopting this method the children can
take part in a large number of games without fatigue or strain.

Dr. Stanley Hall, whose words are worthy the earnest and thoughtful
consideration of all teachers, says : " In the dark background of history there
is much evidence that at some point, play, art, and work were not divorced.
They all may have sprung from rhythmic movement which is so deep-seated
in biology, because it secures most joy of life with least expense. By its
judicious use the human soul is cadenced to great efforts towards high ideals.

" The many work-songs to secure concerted action in lifting, stepping,
the use of flail, lever, saw, axe, hammer, hoe, loom, &c, show that arsis and
thesis represent flexion and extension, that accent originated in the acme of
muscular stress, as well as how rhythm eases work and also makes it social.

"The more intense activities of primitive people tend to be rhythmic
with strongly automatic features. Dance is the most universal form of
activity.

" Dancing is one of the best expressions of pure play, and of the motor
needs of youth, perhaps it is the most liberal of all forms of motor education.

" The work of rescue and revival of the old dances which had the power
to express love, mourning, justice, penalty, fear, anger, consolation, divine
service, symbolical and philosophical conceptions, and every industry or
characteristic act of life in pantomime and gesture is greatly needed for the
youth of to-day.

" Right dancing can cadence the very soul, give nervous poise and con-
trol, bring harmony between basal and finer muscles, and also between feeling
and intellect, body and mind. Leg exercise has perhaps a higher value than
that of any other part. Man is by definition an upright being, but only after
a long apprenticeship. Thus the hand was freed from the necessity of loco-
motion, and made the servant of the mind. Locomotion overcomes the
tendency to sedentary habits in modern schools and life, and helps the mind
to helpful action."

xii RHYTHMIC GAMES AND DANCES FOR CHILDREN

With reference to work-songs, it is interesting to note that the songs
sailors use when shortening cable, making sail, or on any occasion when
combined effort is required, are traditional in the navy, and are known as
" chanties." They consist of a story told in song with a chorus refrain, e.g.
"Yo! heave! ho!" &c, at the end of each line, and repeated several times
at the end of each verse.

Dr. Luther Gulick of New York, speaking of the experiments in teaching
Folk-dancing, says: "If we can enrich childhood by giving children dance
games ; if we can give young people wholesome, interesting, and beautiful
group activities ; if we can add to the social resources for the leisure time
of adults, then this movement for the resurrection of the folk-dance will be
worth while, for it will help to make life more vivid, happy, and wholesome."

After the Infant School period, i.e. at about seven years of age, children
are ready to learn steps and movements requiring more individual power and
control to train balance, lightness of movement, and grace of carriage.

The value of skipping for this purpose is very great — one who can skip
well is almost certain to be a good dancer. Much use should be made of
this exercise both for boys and girls, as it combines a healthy form of exercise
and an admirable form of drill with the spirit of a game. The writer has
noted from twenty to thirty different forms of skipping games played by
children from seven to nine years of age in their free play-time.

At this stage should be taught those dances which seem peculiarly suit-
able to this period of growth, as they include the element of a romp, strongly
marked rhythm, and combined movements. These are the Old English
Morris Dances, Simple Country Dances, the Minuet, Irish Jig, Scotch Reel,
and other national dances belonging to other countries.

The Guild of Play Books by Mrs. Kimmins are very helpful at this
period. If the steps and exercises included in this volume have been
mastered the children will soon become familiar with any new dance.

The teaching of dancing in school should proceed step by step along the
lines of historical development, then it will become an art both beautiful and
healthful. Modern ballroom dancing has no educational value, it is merely
an accomplishment. It belongs to a later stage of growth and a different
range of interests, and to teach it in school is to turn natural impulses and
pleasures into an artificial and generally unwholesome channel.

PART I

EXERCISES AND GAMES FOR CHILDREN UNDER FIVE

Introduction: Suggestions for Training a Sense of Rhythm.

1. Pat-a-Cake.

2. i, 2, 3, 4, 5.

3. Hickory, Dickory, Dock.

4. With my Foot I'm Stamping.

5. Poor Mary sits a-Weeping.

6. Little Travellers,

7. Garden Game.

8. Busy Playmates.

9. Alphabet March,

SUGGESTIONS FOR TRAINING A SENSE OF RHYTHM
IN VERY YOUNG CHILDREN

MANY children do not sing before six or seven years of age, but
this does not mean that they are unmusical or that they should
not have singing exercises. A child is ready to begin musical
training as soon as he has learnt to imitate characteristic sounds, e.g. Cuck-oo,
Bow-wow, Cock-a-doodle-do, &c. Songs should be sung to a child from
the first in order to create a musical atmosphere and to form an exact
rhythmic sense.

GUESSING GAMES

1. Play a familiar tune (Nursery Rhyme) and let the children give the name.

2. Imitate various instruments, and let children guess what they are.

3. Sing a little song and ask children to tell what it is about.

IMITATION EXERCISES WITHOUT MUSIC

1. Imitate people walking, indoors and out-of-doors — quietly when indoors,
briskly when out-of-doors.

2. Different ways of coming to school and returning home. Walking slowly
and quickly, running, simple skip. (X.B. — Children skip before they march.)

3. Imitate trees and birds. Flying like pigeons is a good breathing exercise
as it develops chest and deep breathing. Make trees for birds as follows : Arms
up, head erect, feet for roots, knees and body for trunk. Wind blows, trees sway,
leaves fall down. Imitate gathering leaves in armfuls ; raking them into piles and
then jumping into them.

4. Imitate home activities. Sweeping, baking, chopping, washing, &c.

5. Imitate outdoor activities. Reaping, sowing, threshing.

6. Imitate movements of animals. Swimming, strut like turkeys, waddle like
ducks, jump like rabbits, &c, high-stepping horses.

2 RHYTHMIC GAMES AND DANCES FOR CHILDREN

WALKING

In walking the weight of the body should be well forward and the hips drawn
back, the heel and the ball of the foot should strike the floor at the same time.
Lightness of step depends on the use made of the arch of the foot. The feet should
be well lifted and placed on the floor firmly and lightly. Never allow walking on
the heels in school. The art of walking properly once acquired saves a great deal of
energy and greatly improves personal appearance. To secure interest in walking
bring in the use of imagination, e.g. walking slowly up hill, tip-toe over a muddy
place, run on a piece of soft grass, &c.

BALANCE MOVEMENTS

Draw a line on the floor and while walking on it pretend it is the edge of the
pavement or the top of a wall. Draw a circle and pretend it is a pond and see who
can walk round without falling in. Draw two lines for a ditch and see who can jump
across. Draw circles for stepping stones and see who can step across from one to
the other. Stand on one leg like birds asleep.

i. PAT-A-CAKE. Finger Play

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Directions. — Sing the words, and clap hands for the first beat of the bar,
marked x . " Roll it," twist the hands round each other. " Pat it and," clap three
times. " Mark it with T," make a letter T with right and left forefingers placed one
on the top of the other. "Put in the oven," hold both hands straight out in front
(palms upwards as if holding cake). " Baby," point to baby. " Me," point to self.

EXERCISES AND GAMES FOR CHILDREN UNDER FIVE

2. 1, 2, 3, 4, 5, ONCE I CAUGHT A FISH ALIVE,
Clapping and Dancing Game

A Old Tune. Arranged by F. Kirk.

Clap clap, clap clap clap, clap clap, clap clap clap, clap clap, clap clap clap,

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DIRECTION'S. — Children stand in rows facing teacher.

A. Sing the first four bars clapping in time to the following rhythm : i, 2 slow,

3, 4, 5 quick, for all the four bars.

B. Sing the last four bars to "la," and at the same time do the polka step sideways,

beginning with the left foot. Teacher should repeat the directions i, 2, 3
spring.
When the rhythm is thoroughly mastered it may be practised in rows with the
children facing each other, and taking hold of opposite partners' hands for the
polka step.

RHYTHMIC GAMES AND DANCES FOR CHILDREN
3. HICKORY, DICKORY, DOCK. Ring Game

Arranged by F. Kirk.
Quickly. Dance round {sideways step). Jump.

Directions. — A small group of children (about six) join hands in a ring. They
dance round in time to the music, sideways step, four beats in a bar. At the end of
the fourth, bar they all jump (on the last beat), and then dance round in the contrary
direction.

Note. — This is a good game for cold weather as the action is very vigorous.

4. WITH MY FOOT I'M STAMPING.
Ring Game with Partners

Breathing places.
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Old Tune. Arranged by F. Kirk.

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Directions. — Children choose partners, boy and girl, and stand in a circle all
facing centre, boy and girl alternately.

A. First two bars. Stand still and tap three times with right foot at the words

tap, tap, tap.

B. Two bars. Hold left hand out palm upward, hold right hand above and clap

three times at the words clap, clap, clap, keeping left hand still.

C. One bar. Turn to partner and shake right forefinger at partner three times

(Gai - ly we) one bar. Then change to left hand and repeat the same action
with left forefinger (light and free).

D. Join hands (both hands) with partner and dance round together (sideways step)..

EXERCISES AND GAMES FOR CHILDREN UNDER FIVE
5. POOR MARY SITS A- WEEPING. Ring Game

Tune. Arranged by F. Kirk.

weep - ing, Poor Ma - ry sits a - weep - ing, this fine sun

choose a friend, Oh, pray get up and choose a friend, this fine sun

d iy.

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Directions. — Children form a ring with one child in the centre pretending to
cry. They all walk round in time to music while singing the first verse. For the
second verse they all stand still while Mary chooses one from the ring. The chosen
one remains in the centre while Mary joins the ring, and the game begins again.

6. LITTLE TRAVELLERS. Group Game

Arranged by F. Kirk.

people .ill '^ . jumping.

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Directions. — A few children are chosen to go out of the room and these
arrange a certain course of action among themselves. They enter the room perform-
ing the action (jumping, hopping, skipping, flying, running, sleeping, &c), while the
rest of the class sing the first two lines. They then stand still and sing the last two
lines in answer, and another group is then chosen to go out.
Note. — This game is enjoyed by very young children.

5 RHYTHMIC GAMES AND DANCES FOR CHILDREN

7. GARDEN GAME. Dramatic Movements

Arranged by F. KlRK.
e dig the ground, dig the ground,

This is how we dig the ground, dig the ground, dig the ground ;

15/ Verse. This is how we dig the ground, dig the ground, dig the ground ;
This is how we dig the ground, for our little gardens.

Imitate the action of digging, pushing spade in at first beat of bar and lifting it
up at the second beat.

2nd Verse. This is how we rake the ground, &c.

Spread out the fingers like a rake (joining thumbs) and imitate raking. Begin
with arms stretched out and pull back at first beat, pushing arms forward
again at second beat.

$rd Verse. This is how we sow the seeds, &:c. In our little gardens.

Hold left arm to form a basket. Put in the right hand and imitate scattering
seeds (moving the fingers to represent seeds falling).

4ih Verse. This is how we pull the weeds, &c. From our little gardens.

Pretend to hold basket with left hand. Bend down and imitate pulling weeds
and putting them into basket with right hand.

$th Verse. This is how we pick the flowers, &c. From our little gardens.

Imitate picking flowers with right hand and putting them into left hand to make
a bunch.

6th Verse. This is how we smell the flowers, &c. From our little gardens.

Imitate smelling the flowers, lifting both hands towards nose and smelling
(inhaling) to first beat, lowering hands and exhaling to second beat.

EXERCISES AND GAMES FOR CHILDREN UNDER FIVE
8. BUSY PLAYMATES. A Doll's House Game

Tune. Arranged by F. Kirk.

I went to call for a friend one day,
She only lived across the way ;
She said she could not come out to play,
Because it was her washing day.

This is the way she washed away ;
This is the way she washed away ;
This is the way she washed away,
The day she could not come out to play.

Other occupations ad. lib., e.g. Baking, Cleaning, Ironing, Mending.

DIRECTION'S. — This game may be played in various ways, e.g. : —

i. It may be sung in unison, the children choosing the occupations and

suiting the actions to the words.
2. The class may be divided into groups and the various doll's house toys

distributed, e.g. one group may be using the washing toys, another

group the baking toys, and so on.
One group of children goes round visiting the other groups while the rest

of the class help with the singing.

RHYTHMIC GAMES AND DANCES FOR CHILDREN
9. ALPHABET MARCH. Walking Step

Arranged by F. KIRK.

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PART II

GAMES WITHOUT MUSIC

1. I Spy.

2. Bowing Game.

3. Stepping Stones,

4. Imitations of Animals.

5. Blowing Games.

6. 7-Line Jumping Game.

7. Games with Bean Bags.

8. Sense Games.

9. Hiding Games.

10. Skipping-Rope Games.

1. I SPY

The old favourite game "I Spy" can be used in a variety of ways to teach spelling,
counting, number, and to test the children's knowledge and power of observation.

1st Exercise. COLOUR. — The teacher begins the game by saying : " I spy with my
little eye something red." The one who guesses correctly then begins, choosing
his own colour, e.g. blue, green, brown, orange, black, white, &c.

2nd Exercise. FORM. — I spy with my little eye something square, round, oval,
pointed, blunt, solid, hollow, deep, shallow.

yd Exercise. Qualities. — I spy with my little eve something made of wood,
stone, glass, marble, paper, cloth, silk, lace, leather, &c.

4/// Exercise. NUMBER.— I spy with my little eye something with 2 legs. 3 legs,
1 leg, 3 sides, 4 sides, 1 handle, 2 handles, &c.

5//; Exercise. SPELLING. — I spy with my little eye something beginning with B,
e.g. basket. I spy with my little eye something beginning with
P.P., e.g. plant-pot.

6th Exercise. GROUPING. — I spy with my little eye something
black, round, and made of iron, e.g. poker, kettle, bars, &c. —
something long, round, and pointed, e.g. pole.

2. BOWING GAME

Position for curtsy (see illustration). — 1. With feet pointing
outwards bring left toe behind right heel. Bend knees outwards
keeping back straight. 2. Raise body by straightening knees and
bring feet into position, viz. heels together, toes out. Repeat
vice versa.

Game. — Children join hands in a ring. One child walks
round the outside and taps some one on the back. That one
immediately runs round in the opposite direction. When they meet they stop and
curtsv three times, saving, Good-morning, good-afternoon; goed-eifening, changing feet

10 RHYTHMIC GAMES AND DANCES FOR CHILDREN

at each curtsy. They then run round the ring back to the empty place, and the one
who reaches it first wins.

3. STEPPING STONES

The teacher draws two lines across floor, about 5 to 6 feet apart, to represent
the banks of a stream. She then draws circles 6 to 8 inches diameter to represent
stepping stones. These are placed so that the distance between each stone gradually
increases, e.g.

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Starting at 1 with the right foot, leap on to 2 with the left, 3 with the right, 4 with
the left, and so on. The winner is the one who successfully manages all the leaps
without slipping into the water. Boys and girls may take sides for this, the winners
having extra turns.

4. IMITATIONS OF ANIMALS

Balance Exercises. (a) Birds sleeping. — With hands doubled up into fists,
rest arms on chest to represent wings folded up. Shut eyes and lean head on left
shoulder. Stand on right foot and lift left leg up with knee bent. Count eight
quickly and then change, repeating all the movements vice versa.

(b) Storks. — Hands on hips place. Left knee raise, keeping heel close to side
of right leg, toe pointing down. Count twelve then change.

(c) Rabbits. — N.B. This should only be taken on a floor where there is no fear
of 'splinters, or on grass. Position. — On all fours. Knees together, feet resting on
toes. Hands on floor on each side of knees, turned slightly outwards. Jump. — First
hands both together, then feet.

5. BLOWING GAMES

Bursting Bag. — Place fists one above the other in front of mouth, take a long
breath, then blow into hands, and then clap smartly.

1. Breathe in ~\

2. Blow - Teacher counts slowly.

3. Clap J
Whistling. — Position : hands by sides.

1. Lift arms sideways slowly and breathe in (deep breathing).

2. Whistle, by pursing the lips and blowing quickly.

3. Rest.

Note. — The breathing rhythm is inhale, exhale, pause.

GAMES WITHOUT MUSIC 11

6. 7-LINE JUMPING GAME

Teacher draws seven lines on the floor at graded distances (as diagram) beginning
with 6 inches and increasing 3 inches each time. The spaces should be varied
according to the size of the children.

1st Exercise. — Running. Let the children run in turn, stepping on each line.
2nd Exercise. — Hop on the lines, first with Left foot only, then next time with
right foot.

yd Exercise. — Jump with both feet, swinging arms forward each time.

7. GAMES WITH BEAN BAGS

Throwing and catching games are always greatly enjoyed by children of six and
upwards, and are excellent for training eye movements, quickness of judgment, and
control of limbs. The simplest ones should be taken first, and they should gradually
become more complex as the children's powers develop.

How to Make the Bean Bags.

ith

ill woolly surface i> the mo-4 suitable,

Material. — A strong material
e.g. a good tough flannelette.

Si~e. — When made up the bag should be about 4 inches long and 3 inches wide.
This is a convenient size to grasp.

Weight. — Fill with about I lb. of beans (small). Indian corn does very well, and
is the cheapest. The bags should be of different colours, or numbered, so that
children will know their own. They should be stitched very firmly or the beans will
work out. Bean bags are much handier than balls, being easier to grasp and not
liable to roll away.

Pla

object in the

I. (<i) Children stand in a circle each child with a
centre, and see who can throw bean bag to hit it.

(/>) Place a box in the centre, and see who can throw bag into it.

(</) Make a target on the floor with different numbers, and see
who can get the highest number.

II. {a) Children stand in two lines with a hoop suspended in
the centre of the room. The leaders throw a bean bag to each other through the

12 RHYTHMIC GAMES AND DANCES FOR CHILDREN

hoop. The one who loses goes to his place. The line which is out first loses the
game. The winner goes to the bottom of the line each time to let the next one have
a turn.

(b) Children stand in two rows facing each other, one row has the bean bags.
At a given signal all throw to partner opposite. Those who let them fall leave them
on the ground, and the game goes on till all are out except one, who is the winner.

(c) Children stand in two lines behind each other. Leaders have bean bags.
Leader passes the bean bag overhead down the line, the one who passes it at the side
or turns round forfeits the game.

(d) Same as the previous game except that the bag is thrown overhead, and when
it reaches the last one he runs outside the line and up to the top and becomes a
leader. The game goes on until the original leaders are back in their places, and the
side whose leader gets back first wins.

III. {a) Children stand in a circle with the teacher in the centre. She throws
a bean bag to a child in the circle calling him by name, and he must then throw the
bag back to her. She then throws it to another child.

(b) Children stand in a circle. One child names a child on the opposite side of
the circle and throws a bean bag. He then throws it to another child across the
circle, and he to another, and so on. X.B.— The bag should always go across the
centre.

8. SENSE GAMES

Hearing. — i. Children stand in a ring with one in the centre blindfolded.
He walks to the ring, touches a child, who asks a question, e.g. Who is it ? How do
you do ? &c. The blind man must guess who it is by the sound of the voice. If he
guesses correctly he joins the ring and the other one becomes the blind man.

2. All the children shut their eyes and the teacher taps some object in the room
(desk, wall, stove, window, &c), and the children must guess by the sound what it is.

3. Children shut their eyes and the teacher whispers some command. Those
who hear it put up their hands, and teacher calls upon some one to repeat it.

4. Children shut their eyes and count how many different sounds they can hear.
Teacher says " Open eyes," and asks for the number. The child who says the largest
number is called upon to enumerate them.

Sight. — In addition to the "I Spy" games other exercises for sight-training may
be taken, as follows : —

1. Teacher holds up a picture for a few seconds and sees who can name the most
things seen on it.

2. Teacher asks children to look round the room, then to shut their eyes and
count how many things they can remember ; or while they have their eyes closed she
removes something and then asks what is missing.

3. Teacher makes a point every day of altering the position of some object in the
room and sees how many have noticed it.

Smell. — One child is blindfolded. The teacher holds a flower with a scent

GAMES WITHOUT MUSIC 13

under his nose and asks for its name. If he guesses correctly he is allowed to choose
the next child to he tested. The children must, of course, be prepared for this by a
talk about the flowers. Suitable common flowers, are : —

Spring. — Violet, hawthorn, narcissus, lily, wallflower, &c.
Summer. — Rose, southernwood (lad's love), lavender, pink, &c.
Various fruits may be taken in the same way ; also materials having a characteristic
odour, e.g. soap, coffee, camphor, eucalyptus, wood, leather, &c.

Touch. — Children stand in a circle holding hands behind. The teacher has a
number of characteristic shapes, e.g. cube, ball, cylinder, brick, cone, ring, reel,
top, &c. She puts one into a child's hand, who must call out the name without
looking at it.

Taste. — Tasting games are rather difficult to take with large classes, but with
care the following may be tried. Powder several harmless white substances, e.g.
sugar, salt, soda, tartaric acid, flour, rice, chalk. Let the children take a small portion
with the finger tip and taste it, seeing who can guess the name. Similar substance-
may be dissolved in water and a sip with a spoon given.

Muscular Sense. — Have a number of small bags all alike filled with various
materials to have different weights, e.g. feathers, paper, sand, seeds, sawdust, lead or
steel filings, and let children come out and guess which is the heaviest, which the
lightest, and also arrange them in order of weight.

9. HIDING GAMES

Hiding games are great favourites with little children, and may be used very
profitably in school to train a sense of justice and fair play.

1. Hide O! — This is more suitable for a small group of children than for a class.
It is played as follows : A child stands in a corner with face hidden and counts to 50
or 100, while the rest hide. When they are ready they call out " Hide O ! " and he
then runs to hunt them, and the one found first goes into the corner.

2. Hide the Thimble. Any small bright object may be chosen to hide, e.g. a
bunch of keys, a ring, a thimble. A group of children are sent out of the room, and
the rest of the class "decide where the article must be placed. It must be where it
can be seen. When placed the searchers are admitted, and those who see it must not
let any one know, but quietly sit down in their places. The excitement becomes
very great when some children are very slow in finding it. It does not take long for
all the class to take turns at this game.

10. SKIPPING-ROPE GAMES

1. Clock Striking. — A counting game. Children fall into line behind a leader,
who runs into the rope, skips once, and then runs out at the other side. The others
follow without wasting time. The next time she skips twice, then three times, up to
twelve.

2. Mrs. Mason. — Money counting. This is a competitive game to see who can
skip the longest. The following jingle is repeated while skipping: "Mrs. Mason,
broke a basin, how much did it cost ? id., 2d., 3d., qd.," &c. After 12 the counting
becomes more difficult, as shillings have to be reckoned as well as pence.

14 RHYTHMIC GAMES AND DANCES FOR CHILDREN

3. All in Together. — A group game. The leader goes in first and calls the
others in by name one by one. When all are in the jingle begins : "All in together,
this fine weather. I saw Peter, knocking at the window, Caroline, Caroline, shoot."
At " shoot " they all run out, the one who catches in the rope being out.

4. Lady, Lady. — Imitation. The leader while skipping alone repeats the
following with suitable actions : —

Lady, lady, turn right round. — (funis round while jumping.')
Lady, lady, touch the ground. — (touches the ground with right hand.)
Lady, lady, show your toe. — (holds out foot with toe pointing.)
Lady, lady, out you go. — (runs out of the rope.)

The rest of the group then take turns individually.

5. Salt, Mustard. — Slow and quick skipping. One child skips repeating in
time to each jump : Salt, Mustard, ginger, pepper. At "pepper" the rope goes twice
as quickly.

6. Fortunes. — The following are repeated in turns : —

1. Tinker, tailor, soldier, sailor, richman, poorman, beggarman, thief.

2. Silk, satin, muslin, rags.

3. Coach, carriage, wheelbarrow, cart.

7. Higher and Higher Jumping — In this game one end of the rope should
be fastened to a support, and the teacher should hold the other. The game begins
by the rope being held so that it touches the ground. The children then jump over
it one after the other. When all have had a turn the teacher lifts it a little, and the
jumping begins again. The game goes on until every one is caught, the one who
touches the rope being out.

8. Blue^Bell, Cockk'Shell. — The rope is swung from side to side, and the
leader jumps over it from side to side as it swings. The following words are re-
peated to the swing of the rope (eight beats) : —

" Blue - bell - Cockle - Shell - Ee - ver - I - ver - O - ver."

12 3 4 5 6 7 8

At "O-ver" the rope swings up and ordinary skipping is taken, while the words are
repeated again, except that the word " under " is substituted for " over," and the rope
is then swung from side to side again.

PART III

OLD ENGLISH GAMES AND DANCES

1. Rhythmic Clapping Exer- 5. The King's Land, and 9. Oats and Beans and Barley.

cise. Tom Tiddler's Ground. 10. The Jingcring.

2. Did you ever see a Lassie ? 6. The Jolly Miller. 1 1. Come, Lassies and Lads.

3. Biskit, Basket. 7. Oranges and Lemons, j 12. Maypole Song.

4. Hunt the Slipper. 8. Green Grass. ' 13. Round Dance with Sets,

RHYTHMIC CLAPPING EXERCISE

Arranged by F. Kirk

jf f if >f-ffi_p_

Directions. — 1st Exercise-. — Two children stand facing each other, holding
hands in front of chest, palms facing outwards.

A. At 1. each child hits the hands of the other.
At 2. each child claps his own hands.

At 3. each child hits the hands of the other and remains with palms touching

during the 4th beat.
Repeat for second bar of music.

B. Repeat for third bar, but this time clap partner's hands on 4th beat instead of

resting. Repeat till end of music.
2nd Exercise. — Instead of clapping partner's hands, the hands may be clapped first

in front of bodv and then behind, keeping the same rhythm of the music.
yd Exercise. — Beating knees and then clapping hands. Marking time with feet,
resting on 4th beat, as in Ex. 1, to the following words :
Left, right, left, stop.
Right, left, right, stop.
Left, right, left, right, left, right, left, stop.
4//; Exercise. — The same rhythm can be practised with the feet for changing step.
15

RHYTHMIC GAMES AND DANCES FOR CHILDREN

2. DID YOU EVER SEE A LASSIE ? Drilling Exercise

Quick time. A Arranged by F. KlRK.

e3.

^s^±±^^m

-Jj=M-z?:

Did you ev - er see a las

sie, a las - sie, Did you

Imitation- of Movements.

Position. — Children join hands in a ring with one child in the centre.
Directions. — A. All dance round with sideways step in time to the music,
which is played quickly.

B. All stand still and imitate the actions of the child in the centre, keeping time
to the rhythm of the music, which should be played slowly. See crosses for rhythm.
The child in the centre is to choose her own actions.

Notes. — The actions should be imitations of drill movements, e.g. : —

Arms flinging. Arms stretching, forwards, upwards, sideways, and downwards. Knee
bending. Curtsy. Jumping. Changing feet. Head turning. Trunk turning
and bending, &c. &c.

Each child should keep to one movement, and all in the ring should take turns, and
each one give a different exercise. No shirking must be allowed.

OLD ENGLISH GAMES AND DANCES 17

3. BISKIT, BASKET. Arm Swinging

Arranged by F. KlRK.

fe|=^Ef^EggEg?

r f iy f-=]

kit, bas - ket,

^=^TBEB

-J'. I J jUJ^J^u^ e e I -r J- J eHHJ=

DIRECTION'S. — Two children face each other taking hold of both hands (each
takes the other's right with his left hand, and vice versa).

A. 1st Bar. — Each raises one arm as high as possible, keeping hold of partner.

2nd Bar. — Each lowers that arm and raises the other arm. Repeat for six bars
in time to the music.

B. At the 7th bar both turn and go under the arms that are raised, thus standing

back to back. At the 8th bar lower the arms.

C. Repeat the same movements as A, but standing back to back (six bars).

D. At the 15th bar both turn and pass under the arms that are raised, thus getting

back to facing position.

Note. — This is an excellent arm exercise, and the game is one thoroughly enjoyed by the
children when they have mastered the going under arms.

A variation called " Knead the Bread " can be taken in the same way, but instead of swing-
ing arms (like the handle of a basket) the kneading motion can be taken instead. The words are
" Knead the bread, knead the bread. Turn the bread over."

RHYTHMIC GAMES AXD DANCES FOR CHILDREN

4. HUNT THE SLIPPER. Hide and Seek

Old Tune. Arranged by F. KlRK.

Cob - bier, cob - bier, mend my shoe, Have it done by half- past

i^iH^^E^El:

Stitch it up and stitch it down, While I go walk - ing round the town.

:==~\=zz^tzz

Directions. — The players sit on the floor in a circle with knees up to form an
arch. One child brings a slipper, or shoe, and sings the words of the game, giving
the slipper to one of the children in the ring. He then walks away, and while his
back is turned the slipper is passed round the ring, and when he returns he is told
to hunt for it. The one found with the slipper then goes out, and the game begins
again.

5. THE KING'S LAND

Arranged by F. Kirk.

i-l us— ^ — I ^H— ^

: catch me till I say Come.

gg|gggigg=M^:

DIRECTION'S. — A portion of the room or playground is marked off by a line.
The King stands on it. The rest of the children come dancing up, singing the words
and stepping over the boundary line. At the word Come the King rushes out and tries
to catch one, who then becomes a prisoner.

Catching games have a great fascination for children. Other games of this
description are : —

1. Follow my Mother to Market. — Here the mother tells her children to stay at

OLD ENGLISH GAMES AND DANCES

1!)

home while she goes shopping. As soon as she has gone the children follow her on
tip-toe. Suddenly she turns round and chases them back home again.

2. Old Daddy Wiggin. — A number of children follow a boy calling out "Old
Daddy Wiggin." For a time he takes no notice, then suddenly turns round and
chases them.

3. Tom Tiddler's Ground. — A street pavement game. This game is played by
children in various ways, e.g. : — ■

1. Tom Tiddler stands in the middle of the road or street, and a group of children stand on

the pavement (causeway or sidewalk). They begin to chant, "I'm on the top of your
fine hall, stealing gold and silver." Tom then rushes to them, and they rush across the
road to the opposite pavement where they are safe. The one caught is regarded as a
prisoner, and the game goes on till all are caught, or until there is only one left, when he
becomes, " Tom Tiddler."

2. Another way is for Tom to stand on the pavement and the others to dance on the edge of

the pavement (changing step) singing the doggerel. Tom makes a dash for them, when
they turn round and run back to the opposite pavement.

6. THE JOLLY MILLER

Arranged by F. KlRK.

There was a jol-ly miller, and he lived by himself, As the wheel went round he made hi

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=FT=1=

hand in the hop-per and the oth-er in the bag ; As the wheel went round he made his grab.

£.-. ■

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Position. — In couples forming a double ring; boys inside, girls outside. One
boy (the miller) stands in the centre.

Directions. — All walk or trip round holding hands in time to the music (boy
tikes hold of left hand of girl with his right). When the word "grab" is sung the
partners let go hands, and the boy moves forward to the partner in front. The
miller then tries to secure a partner for himself, and the boy left out becomes the
miller.

20 RHYTHMIC GAMES AND DANCES FOR CHILDREN

7. ORANGES AND LEMONS

Arranged by F. KlRK.

farth-ings! say the bells of St. Mar -tin's, "When will you pay me?" say the

il*i3ip^i^i^i^

bells of Old Bail - ey," "When I grow rich," say the bells of Shore - ditch ;

§H=miH3i§^l

"When will that be?" say the bells of Step - ney ; "I do not

BEEg==E^=;^=h=I==;ii^iEilg=:!^

know," says the great bell of Bow. Here comes a can - die to

£;

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fc^

mm^m^^^±wmmmm

li«ht you to bed, Here comes a chop - per to chop off your head.

j^=^^=g^=^^i=gg=iig=gEEggg=EEB

OLD ENGLISH GAMES AND DANCES

Position. — Two children take hold of hands and form an arch. One decides to
be an Orange and the other a Lemon. The rest of the children form into single file.

Directions. — The file of children walk round singing the words, passing under
the arch several times. At the word "chop " the children forming the arch catch the
one then passing under, and ask her to choose — -orange or lemon ? She then stands
behind the one she has chosen, and the game begins again. The choice must be
made secretly or the charm of the game will be lost. The game continues until each
has had a turn, and (with older children) can conclude with a tug-of-war to see
which side is the stronger. The winning side is the one with the larger number.

8. GREEN GRASS. Old English Game

A Arranged by F. KlRK.

I lure we come up the green grass, the green grass, the green grass, Here we come up the green grass, On ;

show you a black • bird, a black-bird on a tree, And we'll all go a - rov - ing,

:pg=g— _=g p Efrrg=P ^=f=\

pl^l^^lS=£=^jj 1 j^-j^^zlU J ;J-IH

rov-ing side by side, I'll take the fair - est, I'll take her for mv bride. Will you come? No.

#-fe 1 — a-

f=j F. r ^jrrj | J. J j=d=:i7z3=:

Naugh-ty

girl, she won't come out, she won't come out, she won't come out ;

-g- -% j j g"

^^E^EEl

RHYTHMIC GAMES AND DANCES FOR CHILDREN

mrnm=-r-- j.h-^J^=^SS==i=^=t=t===t:

Naugh-ty girl, she won't come out, to help us with our danc - ing. Will you come? Yes.

^=gl=gii=g=gi=ggE

l^l=^=S=3§^^ililiE^EgEi

Now we've got our bon - ny lass, our bon - ny lass, our bon - ny lass.

Directions. — Three boys stand in one row facing three girls. 1 2 3

A. The boys advance and retire twice (with tripping step), ° ° °s'rls
four steps forward then four steps backward in time to the music, x X x boys
beginning with left foot. 12 3

B. " Fair maid, pretty maid " : Boys hold out both hands to-
wards girls in a coaxing manner. "Give your hand to me" : Each boy points to
himself. "I'll show you a blackbird," &c. : Point sideways with left forefinger and
look upwards and sideways at imaginary bird.

C. "We'll all go a-roving," &c. : Boys all turn to the left and march round back
to their places again. No. 1 leads and follows No. 3. As they march back to places
they look intently at the girls, as if deciding which to choose.

D. The first boy then walks towards No. 3 girl, and holding out both hands sings
"Will you come ?" She stamps her foot, and turning her head away says emphati-
cally, "No." He then turns back towards the boys, who all sing —

E. "Naughty miss," &c, stamping the foot at "naughty," and looking sur-
prised.

/•". The same boy then goes to No. 1 girl and asks the same question, " Will you
come ? " She gives him a beaming smile, and graciously says " Yes." He takes hold
of her right hand with his left (this is very important to save confusion in the next
part), and leads her towards the boys, who all join hands singing while dancing in a
ring (sideways step) —

OLD ENGLISH GAMES AND DANCES

(/'. " Now we've got our bonny lass," &c. At the end of the verse the first boy
and second boy unclasp hands, and No. I boy goes to the other end of line, while N< >. i
boy is now at the top. The game then begins again. No. 2 boy asks No. 3 girl
again, who refuses in the same way. When the turn of No. 3 boy comes he also asks
her, and she refuses a third time. As there is no other partner he goes up a second
time, and savs very beseechingly, "Oh, do come, please." She pretends to be shy,
and at last savs " Yes,'' when the game finishes with the dance round.

Note. — The actions in this game should be very spontaneous and natural or it will lose
much of its charm.

9. OATS AND BEANS AND BARLEY. Old English Game

Oats and beans and bar - ley, Oats and beans and bar - ley, You and I and all of us know How

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iq^=^=^=-£-^ is — I— q

and beans and bar - ley grow. First the farm - er sows his seeds, Then he stands and takes his ease,

Stamps his feet and claps his hands, And turns him round to view his lands. Coo-,

RHYTHMIC GAMES AND DANCES FOR CHILDREN

-£=*=£:

M—tz

Go to the ring and choose one in, While

all gai - ly dance

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help your wife to chop the wood.

Direction's. — One boy, chosen for the farmer, stands in the centre, and the rest
of the children join hands in a ring.

A. They all trip round singing the first four bars, and then stand still.

B. i. Hold left arm round to form a basket, and give right arm a good swing

round to the right as if throwing corn.

2. Fold arms and stand up straight.

3. Stamp with right foot on 1st beat and with left foot on 2nd beat.

4. Clap on 3rd and 4th beats.

5. Shade eyes with both hands and turn round slowly (turning to the right).

6. Put hands to mouth and Co-o-0-0. (This is done by farmers to scare

birds away.)

C. All join hands and dance round quickly (sideways step). The fanner then

goes and chooses a partner from the ring, and both stand in the centre.

D. The children in the ring then address the words to them, pointing first at the

girl and emphasizing the word "must," and then at the farmer. Imitate
"chopping" at the end with right hand on left wrist.

OLD ENGLISH GAMES AND DAXCES

10. THE JINGORING, OR 'THE MERRY MATANZA

Old Tunc. Arranged by F. Kirk.

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mwm

1. Here we go round the jing

2. Twice a - bout and then

S^g

o - ring, the jing - o - ring, the jing - o - ring ;
we fall, and then we fall, and then we fall ;

mi^

-\— * — a— t

Here we go round the jing - o - ring, A
Twice a - bout and then we fall, A

round the mer - ry ma
round the mer - ry ma

Position. — In couples in a ring ; boys inside facing girls, girls outside facing buys.

Directions. — ist Verse. — Taking hold of both hands couples dance round the
ring (sideways step, girls beginning with left foot, boys with right).

2nd Verse. — Holding hands in same way each couple dance round together,
bending knees at " fall " each time.

yd Verse — Girls sing this standing still until the words " Merry Matanza" are
reached, when all twirl round once.

4//; Verse. — Boys ditto; 5//; Verse. — Girls ditto.

Other verses. — Imitate washing clothes, sweeping floor, baking bread, &C.

9//; Verse. — All dance round the ring in couples taking hold of both hands, or with
tripping step one couple after the other, boy taking hold of girl's left hand with his right.

yd Verse. ( Choose the one you like the best, you like the best, you like the best ;
\ Choose the one you like the best, around the Merry Matanza,
/ Can you bake and can you brew, can you sweep and can you sew ;
\ About the house can all things do, around the Merry Matanza?

(We can bake and we can brew, we can sweep and we can sew ;
About the house can all things do, around the Merry Matanza.
The following verses can be inserted here at the option of the teacher and
children, suiting actions to the words.

6th Verse. — (a) This is the way we wash the clothes, &c.

Boys. — We will help to wash the clothes, &c.
■jth Verse. — (fi) This is the way we sweep the floor, &c.

Boys. — We will help to sweep the floor, &c.
St/i Verse. — (c) This is the way we knead the bread, &c.
Boys. — We will help to knead the bread, &c.
<>//; Verse. — Boys and girls together.

Now we are married with a gay gold ring, a gay gold ring, a gay gold ring ;
Now we are married with a gay gold ring, around the Merry Matanza.

Note. — This is a free rollicking game, and is greatly enjoyed by the children.

Girls only.

4//; Verse.

Boys only.
$th Verse.

Girls only.

RHYTHMIC GAMES AXD DANCES EOR CHILDREN

li. COME, LASSIES AND LADS. May-pole Song
Walking and Tripping Step

ne. Arranged by F. Kirk.

EE*EjEEjEjEj|EEjEEEfeES

lip^ip=S=|g^

Come, las-sies and lads, get

Df your dads, And a - way to the May - pole hie,

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F-

each

May-day

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will dance

and play,

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Till the

* ■

sinks in

the sky.

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For

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Jack-ie will dance with Jill,

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And John-ny will dance with Joan,

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trip

it, trip

trip

it, trip it up

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and down

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lis^^s^^i^^p-

it, trip it,

l=i=l^=^ipp=gHi|=p=iii?=l5piE

This old song may be used for a May-day or May-pole festival as follows : —
Slow walking step with partners for the first twelve bars, and tripping step to the
end of tlie music (eight bars).

OLD ENGLISH GAMES AND DANCES

12. MAY-POLE SONG. Morris Dance and Step

Old Morris Dance Tunc, lyth Century,

^^^=tS^iiB^^^^^^^

a - long, With your mu - sic, dance, and song ; Take your part - ner by the hand,

And o - bey the Spring's com-mand. Come to the May-pole, coma a- way,

For il is a

hoi - i - day ; Come to the May-pole, come a -way, For it is a hoi - i - day.

Direction's. — The May-pole Song tune, being an old Morris Dance tune, may
be used for the practice of the Morris Dance Step (one, two, three, hop), three walk-
ing steps and a hop.

The tune, either played, sung, or hummed, maybe used for the various May-pole
exercises and dances.

28 RHYTHMIC GAMES AND DANCES FOR CHILDREN

13. ROUND DANCE WITH SETS

A. Introduction.

Old Tunes. Arranged by F. Kirk.

^^^^^^^^^&=^£^^=^p^

' to partners.

I I

W%-^ - I * ^=5

I I

jg^^^E^^F^^^t^^

/ton/ /<? opposite partners.

I
5. #%«/.

^^^^^^g

iig

^mm^m^mm^ m

_/<?2>z rig/it hands across

1 2 3

-£: ;£- H*- _ JL fL. *

C. Set to partners.

-/-- -ft — H — | T

=^N=

=d^^=

=3^M=

— 1*» — i—

5^-^E

-s-^

— d-fc-1

3 4

=2— g ' 1 1

-J=r=

— i-t-

— -I

OLD ENGLISH GAMES AND DANCES

J°>

Position. — Children stand in sets of four all round the room. One couple facing
opposite couple (as diagram). Hoy has girl on his right hand. ^"o

A. Introduction. — As soon as the music begins the partners +/* °^p

turn towards each other and how gracefully* (right foot behind
and left knee bent). Wait till end of 4th bar then bow to oppo-
site partners in the same manner.* The chord * at the end of the
8th bar is the signal for joining hands like the spokes of a wheel. 0^0 *j

(Boys take hold of right hands, and Girls take hold of right hands.) ^'S^*

/»'. Wheel. — All take eight steps round, beginning with left foot; then change
hands, turn round, and take eight steps back again to places. Leave loose of hands
and face partners when the chord * strikes.

C. Set to Partners. — All take four steps to the left (sideways step, beginning with
left foot), then four steps to the right (beginning with right foot). Take hold of both
hands and dance round with partner till end of music (sideways step). Join hands.
Hoy takes left hand of girl in his right when the chord * is struck.

D. Advance with partner to meet opposite partners, taking three small walking
steps, beginning with left foot ; pause on the 4th, then take three walking steps back-
ward, pausing on the 4th ; then take eight steps forward to meet a new couple.
(When crossing leave loose of hands, and girls go between the partners in the centre.)

Repeat B, C, and D.

The dance can go on indefinitely, or, if the ring is a large one, until the original
partners come together again. The bowing introduction is not repeated, but when
new partners meet a bow should be made on the last chord of the music.

Note. — The chords at the end of each movement are inserted as a signal for change.
x =Boy, o = Girl.

RHYTHMIC GAMES AXD DANCES EOR CHILDREN

PART IV

SWEDISH GAMES AND DANCES

1. The Sleeping Princess.

2. With a Hop and a Jump.
3- I See You.

4. How Do You Do ?

5. May Song and Dance.

6. Tripping Dance in Threes.

7. The Cobbler, and Polka Step.

8. Scandinavian Folk Dance.

1. THE SLEEPING PRINCESS. (Sleeping Beauty)

Arranged by F. KlRK.

'mm:

HeHI

P5i=ig=^==SEi

love - ly

Long

urn

Characters — Princess (girl) ; Witch (girl) ; Prince (boy) ; Ring of Children.

1. There was a lovely princess, a princess, a

princess ;
There was a lovely princess — Long ago.

2. She lived in a high tower, high tower, high

tower ;
She lived in a high tower — Long ago.

3. A witch came once to see her, to see her, to

see her ;
A witch came once to see her — Long ago.

1st Verse. The princess stands in the centre
while the children dance round singing (side-
ways step).

2nd Verse. All stand still with arms stretched
up to represent the tower.

yd Verse. The witch hobbles into the ring
and waves her hand over the princess, while the
children walk round the ring with hands shad-
ing their eyes as if afraid to look at her. The
witch then goes away.

SWEDISH GAMES AND DAXCKS

4. The princess pricked her finger, her finger,

her finger ;
The princess pricked her finger — And she
slept.

5. A hundred years she slumbered, she slum-

bered, she slumbered :
A hundred years she slumbered — Long ago.

6. ( Ireat thorns grew all around her, around her,

around her ;
(ireat thorns grew all around her — As she
slept.

7. A noble prince broke through them, broke

through them, broke through them ;
A noble prince broke through them — Long
ago.

8. He wakened up the princess, the princess,

the princess ;
He wakened up the princess — Long ago.

9. There was a joyful wedding, a wedding, a

wedding ;
There was a joyful wedding — Long ago.

\th Wise. All walk round holding up fore-
finger, while the princess slips down and pre-
tends to sleep.

z,th Verse. All stand still with hands together
under cheek, and head on one side, to imitate
sleeping.

6th Verse. Hold out the fingers stiffly, and
gradually close in round the princess.

■jth Verse. As the prince breaks through the
ring widens out to its original size.

8t/i Verse. He touches the princess, who
rubs her eyes, jumps up, and gets hold of him
by both hands.

gtk Verse. The children all join hands and
dance round, while the prince and princess
dance round in the centre.

2. WITH A HOP AND A JUMP

rol - lick-ing song, Tra la la la, Tra la la la.

Boys elap. Jump to next girl.
x o'

e=g=i=j

One, two, three. Clap. Jump.

Position. — Girls join hands in a ring. Boys stand behind girls, each boy placing
his hands on the girl's shoulders in front of him.

DIRECTION'S. — All dance round together in time to the music (sideways step).
After counting 1, 2, 3, the boys leave loose to clap, and then catch hold of shoulders
of the next girl, while the dance goes on.

N.B. The girls keep dancing all the time.

RHYTHMIC GAMES AND DANCES EOK CHILDREN

3. I SEE YOU

wmmmw

Arranged by F. Kirk.

^e^=FgEEE^^^

Tra la la la la

-* :f-

Peep over left shoulder. Peep over right shoulder. Peep left.

mmmmm^mmm1^^

:qE=Eq

la la la. I see you,

see you ; Tra la la

^m^m

Peep right.

Peep left. Peep right.

x clap.

Peep left.

B I see you,

3=£E^=EM

PgiiiiJEiiE^I

— f=2-

Peep right.

you see me ; Then I take you, and you take

mrmm

SWEDISH GAMES AXD DANCES

;3:>

Position. — In two ranks, facing each other, e.g.

O O C 0

A. I

1 x

O Girls
x Boys

Girls rest hands on boys'
shoulders.

Boys rest hands on girls
shoulders.1

The girls in A rows peep over the shoulders of the boys — peeping over left
shoulder first. The b< >ys in /»' rows peep over the shoulders of the girls — peeping
over left shoulder first.

A. — Peep first over one shoulder, then over the other shoulder eight times (four
to left, and four to right).

B. — Those who have been peeping clap, and then dance towards each other,
taking hold of each other by both hands and dancing round together, till the end of
four bars. They then clap again, and dancing back towards their partners take hold
of both hands and dance round together to the end of the music. The partners
then change places, and the game begins again. (Sideways skipping step.)

1 In the illustration the position of couple on the left should be reversed ; the boy should
be behind the girl.

31 RHYTHMIC GAMES AND DANCES FOR CHILDREN

4. HOW DO YOU DO?

Aryan:-, J rr F. KlKK.

^=^V=

:*=i=

How do you do? I'm

ry glad to see

w^mMwm^mmmmmmmmm

Advance, and

IPPF?

How are you? I'm ve - ry well to - day. How do you do? I'm

-s tP — * -|--r _ *

Advance, and bow.

Advance, and bow,

-N [»

— -V-

-->

=H^

_P_,

Zfi=Zf=

5^3

ve - ry

glad

see

vou ; How

are

— *—

you ?

I'm ve -

well to

-1*

"J"

^T1

retire.
C

Ivancc, 1

>Z^ fclB,

retire.

•#1^:

~rZ£*~-

—!*—!*-

E*=

EiM;

— | J JU-

=s=3^=

E*d=|

BR*

Tra la la

la la

»_!'_

Tra la la

£1!

la la,

-*-

/vV;? under arch.
C c

Wait and peep from behind.

'^m^mm=^^^^.

C/*p, then dance to meet partner.

Dance round with partner holding both hands.

SWEDISH GAMES AND DANCES

Clap and dance. Dance round.

Position. — Eight children, four boys and four girls, stand in a 1 2

square in couples as for " Lancers." ° x

DIRECTIONS. — A. Top and bottom couple advance to the centre - 0 xl

and bow (three steps, beginning with left foot, and curtsy). (See x o

illustration for Quick Curtsy in Bowing Game.) Walk backwards to 6 5

places, beginning with left foot.

B. Side couples advance to centre, curtsy, and retire. Repeat A and /•'.

C. Side couples then join hands to make an arch (boy takes hold of girl's left
hand with his right). A boy and a girl (one from top and one from bottom) then
run under the arches made by side couples ; e.g. Nos. i and 6 run under the arch
made by 7 and 8, and Nos. 2 and 5 under the arch made by 3 and 4 (running lightly
on toes, in time to the music). They wait behind, peeping out sideways, until the
end of the 2nd bar of " Tra la la."

C c. Then they clap hands, and with skipping step dance towards their own
partners, whom they take by both hands and dance round with till the end of the
4th bar of "Tra la la."

I>. Top and bottom couples repeat C again.

Repeat. — The whole dance is then repeated, with the side couples beginning first.
Top and bottom couples then make the arches, and the side couples run under twice.

Note. — This dance is very effective when the rhythm is strictly observed, but it is not easy
for very young children, as it includes three different steps, viz. : Walking, Running, and Skip-
ping. The following hints may be helpful : —

1. Curt 'sy on the 3rd beat of the bar (i.e. bend knees on the 3rd beat and get up on the
4th) and step backwards on the 1st beat of the next bar. (See illustration for Quick Curtsy
in Bowing Game.)

2. Run in strict time with the music and clap hands together exactly on the 1st beat of
the bar.

3. Wait behind until the end of the bar — do not hurry — then spring forward to meet partner,
with skipping step, and continue this step until the dance is finished.

36 RHYTHMIC GAMES AND DANCES FOR CHILDREN

5. MAY SONG AND DANCE

Breathing places.

Arranged by F. Kirk.

2. Stop and face partners,
taking hold of right hands.

of partners right hand and dance round each other.

Note. — The Polka step may be taken with older children.

SWEDISH GAMES AND DANCES 37

i. Position. — In a ring. Boy takes hold of girl's left
hand with his right — both hands held up gracefully
about on a level with the shoulders. Trip round in
couples until 8th bar is reached. (See Music, 8th bar.)

r7 ^ 2. Position. — At the 8th bar couples stop, face one

another, and take hold of right hands. At 9th bar bow
£><] [><3 gracefully (keeping hold of hands). At 10th bar shake-

hands three times in time to music. Each then turns to
t\ A the left.

^ ^ V

0
S] <1 A

A ^

3. Position. — Trip round, going in opposite direc-
tions until the original partner is met, and then dance
round with each other, holding right hands, till the end
of the music.

Note. — Boys are inside the circle, girls outside. The time taken varies with the size of the
ring. If the ring is a large one, the turning round at the end should be omitted, or the music of
the last line repeated.

The words of the song may be adapted to suit May Day (1st May), Empire Day (24th May),
or Royal Oak Day (29th May).

RHYTHMIC GAMES AND DANCES FOR CHILDREN

6. TRIPPING DANCE IN THREES

A " Keel Row." Arranged by F. Kirk.

I r-1 l r^ I r^ r-* r*\ -3 I r

7>2> /0 /yfo? /<?//.

7># /,> the right. .

jPfV/r /*/£■» hands. \st girl pass under arch, boy twist round. 2nd girl pass under

Weel may the keel row, the keel row, the keel row, O

arch, all join hands.

Trip to the left.

weel may the keel row that my lad -die's in, O weel may the keel row, the

» — — «— i

7V/J25 /!« //;c- right.

Girls let go hands 1st girl pass under arch,

3=^~s=f

^zczc£f=c=Egrr3:

keel row, the keel row, O weel may the keel row that my lad -die's in.

boy twist round.

2nd girl pass under arch, boy twist round.

SWEDISH GAMES AND DANCES

ILLUSTRATIONS FOR TRIPPING
DANCE IN THREES

Position. — Three children (two 3

girls and one boy) take hold of hands O

in a ring, holding arms up gracefully, 10 O2

boy in the centre.

.J. Dunce round with tripping step, four
steps to the left (2 bars), then four steps to the
right (2 bars).

$&$s

m ^

B. The girls then leave loose with one
hand, still holding boy with the other. The
first girl, who is on the boy's right, then trips
under the arch formed by the boy and girl
(2 and 3), passing behind the boy back to her
place, and the boy follows her, twisting round
on his own axis, and untwisting "fingers as he
moves round.

C. The other girl then trips under the arch
formed by 1 and 3, the boy following, and
turning round as before, but in the opposite
direction.

At the end of the music all join hands, and
the dance begins again.

Note. — It is adv
passing under arms.

children about the same height in order to facilitate the

RHYTHMIC GAMES AND DANCES FOR CHILDREN

7. THE COBBLER, AND POLKA STEP

Folk Dance

Arranged by F. Kirk.
m m m m m m

m f— — f — w w — -J — f- m f — ,—

A. Twist inwards. B. Twist OUTWARDS.

C. Push elbows backwards. D. Clap three times.

^E^m

-F — — p — r- — p p p — p p —

A. Repeat twisting. />'. Repeat twisting.

Place hands ,
shoulders.

H=iifL=^i§§§£=^==iil

C. Push elbows. D. Clap three times.

A s *

H^^^^E^ E=j=L^^^-^E=E^==

Polka, with hands resting on shoulders.

, p— .- -S-

!™™J

SWEDISH GAMES AND DANCES

Children stand in pairs facing each other all round the room, e.g., Position 2 in
" May Song and Dance," page 37.

1. A. With fists held one above the other in front of chest imitate winding move-

ment, twisting inwards as quickly as possible.

B. Reverse the movement by twisting outwards.

C. Draw the elbows back forcibly, twice at 1 and 2.

D. Clap smartly three times.

2. Repeat A B C I).

3. Place both hands on partner's shoulders (see illustration for dancing position for

couples) and polka round the room to the end of the music. Repeat from
the beginning.

Note. — This game should not be taken fully until the polka step is learnt, though the latter
part (Polka) may be practised by the children keeping in their places and moving sideways with
the 1, 2, 3 hop, step.

POLKA STEP

For position of feet, see illustration for Waltz March (three-step gliding motion).
Step 1. Left foot forward.

2. Draw right foot up behind (right toe behind left heel in a slanting

direction).

3. Left foot forward again.

4. Hop on left foot, and at the same time swing right leg forward ready to

begin with right foot at 1 .

N.B. — Care must be taken to keep well on the toes all the time. This step must be very
light and springy.

RHYTHMIC GAMES AND DANCES FOR CHILDREN

8. SCANDINAVIAN FOLK DANCE

Played quickly.

— ^-

n-anged by F

Kirk.

<SF-4 —

=p=

Hght

*4=

=*=

=g=

=N=^

TtS~

Clap.

Link

arms,

run

M$4~

— }-

-=t~-

—f—

=M=

—*

-J-

B. Clap. Link left arms,

r ! I

J — t — £z

Step,

£s

hop,

+^^^==^^===-=g==T===j*^="-^==g=^=P=^q

•**A

step,

hop,

t— t

m^^mm

SWEDISH GAMES AND DAXCES

Played moderately.

#^=^=z=^

=i»=

^i=E=

' *

=M~^

-j f r — 1

-»-

- i~=f=

-=-4- i

— —

-J=^

Position. — In a ring, boys and girls alternately. Boy and girl face each other
ideways.

A. Boy and girl clap, then link right arms and run round on toes, one after the

B. Clap. Link left arms and run round in opposite direction.

C. Girl steps backward with slow hopping step four times, first with right foot,
then with left foot, and at the same time beckons to the boy, who walks towards her.
(When stepping with right foot, place back of left hand lightly on left hip, and beckon
with right forefinger. When stepping with left foot, beckon with left forefinger.)

/). Boy then hops backward and beckons to girl in same way.

E. They both place hands on shoulders and polka round together to the end of
the music.

RHYTHMIC GAMES AND DANCES EUR CHILDREN

PART V

VARIOUS MARCHES AND STEPS

1. Tripping and Sideways Steps,

2. First Morris Dance Step, 1 hop, 2 hop,

3. Second Morris Dance Step, l, 2, 3 hop.

4. Heel and Toe March.

5. Giant and Dwarf March and Walking.

6. "Waltz March (3-step gliding motion).

12. God Sa

7. Curtsy. Slow Curtsy and Bow.

8. Hips Firm, Dancing Position for

Couples,

9. Minuet Step March.

10. Running March,

11. National March,
the King.

1. TRIPPING AND SIDEWAYS STEPS. One Hop, Two Hop

" The Quaker's Wife?

Arranged by F. Kirk.

gEh=^_zfgzz5g=i

VARIOUS MARCHES AND STEPS

j^_ r ,_n — — ,_, — e=-

I r

Directions. — Tripping Step. — This is sometimes called the Skipping Step,
because it is the step children use when skipping individually with a rope on the
way to and from school. It consist? of a step forward and a slight hop with the
same foot, before changing to the other foot. It is the easiest dancing step for
children to learn, and should be taught as soon as children are able to walk in time
to music (children skip before they march). It is the step used in the majority of
simple games where a forward direction is taken, e.g. "Nuts in May," " Here we come
up the Green Grass," "London Bridge," &c. It can also be taken in ring games,
such as " When I was a Young Girl," " Ring a ring of Roses," &c, though the
sideways step will be found more satisfactory with the youngest children.

Sideways Step. — Draw a circle on the floor and let the children stand in a ring,
holding hands, with their toes touching the circle. All move round sideways,
beginning with the left foot, keeping toe to the circle, and drawing the right foot
towards it. Then move sideways again with left foot and draw right after it, keeping
toes to the ring, and counting —

One : Left foot sideways.

Two : Draw right foot towards it till heels touch, toes pointing outwards.

It takes a little practice before children understand how to move the body in a
sidewavs direction, but dancing in a ring will never look effective until this is
mastered.

As soon as the step is learnt it should be practised quickly to music.

"Hickory, Dickory, Dock," is an excellent game for this exercise, as it gives
practice for moving in both directions.

4<;

RHYTHMIC GAMES AND DAXCES FOR CHILDREN

2. FIRST MORRIS DANCE STEP. One Hop, Two Hop

Old Tune. Arranged by F. Kiri

*dzs^iz

zmm

i^-q^S-^ — l^pd^=z^:==s=^=i_|?>_^ -m—--i — FS-prr=_i2gg=z=-c

m*E^=£?ZE

This step is not the same as the Tripping or Skipping Step, as the beats are of
equal length, not long and short as in tripping. Care must be taken to make the ist
and 3rd beats very distinct, as the emphasis must not come on the hop. The knee
should be bent during this exercise.

In Morris Steps begin with right foot, not with the left foot as in other dances.

3. SECOND MORRIS DANCE STEP. One, Two, Three Hop

Old Morris Dance Tune, 1750. Arranged by F. Kirk.
4—t

I I

*_ *

-I — 0 r n

Children begin here for marching.

sis

taii!!ife!iii^siiii^

VARIOUS MARCHES AND STEPS

All children can learn the Morris Dance steps if they are taught gradually. The
full rhythm for this step occupies four full bars, but the first two bars should be
thoroughly mastered before attempting the rest of the rhythm.

First Part.

Ist Bar. — This consists of three walking steps forward, beginning with right
foot, then a hop with right foot without moving forward. Let the children while
doing it repeat the words, " i, 2, 3, hop."

2nd Bar. — Repeat, beginning with left foot.

This can be practised in two ways, e.g. : —

1. Standing in places and marking time for 1, 2, 3, hop.

2. As a march round the room.

When this has been thoroughly mastered the second part of step may be taught.

Second Part.
3rd liar. — This is a repetition of the first Morris Step, 1 hop, 2 hop.

Right foot forward at 1. Hop with right foot at 2.

Left foot forward at 1. Hop with left foot at 2.
4/// Bar. — Bring both heels together during first half of bar (1, 2 = feet together).

Then jump with both feet, on 3rd beat.
This should be practised with children standing in their places, or in rows. It

cannot be taken as a march.
When the full rhythm is learnt, the two parts can be practised with children
standing in rows, as follows : —

1, 2, 3, hop ; 1, 2, 3, hop (in a forward direction).

1 hop, 2 hop, feet together, jump (in a backward direction).

RHYTHMIC GAMES AND DANCES EUR CHILDREN

4. HEEL AND TOE MARCH

Soldiers' Chorus, from Gounod's " Faust." Arranged by F. Kirk.

ry and love to the men of old,

u, 1 1 1 IL| 1 1 1— — 1 1 1 l-P 1 1 1 1

rr-" r

12 3 4 1

Heel— toe. 1

3 stop.

Cour - age in heart and a sword in hand, Ready to fight or ready to die For Fa - ther - la

j=^=S=«=q=

-rJ-t — r^f — 1 — t — 1 c^-r

1st Bar. — 1. At first beat of music, swing right leg forward, touching ground
with right heel.

2. Keep in that position for second beat of music.

3. At third beat, swing the same foot backward, touching the ground with
right toe.

4. Keep in that position for fourth beat of music.

2nd Bar. — 1. At first beat, swing right leg forward as in ordinary walking

2. At second beat, swing left leg forward as in ordinary walking march.

3. At third beat, swing right leg forward as in ordinary walking march.

4. Pause, with feet in walking position, i.e. right foot in advance of left foot.

yd and 4//; Bars. — Repeat same movements, beginning with left foot.

Children should repeat the following words in rhythm : — ■
Heel — toe — one, two, three, stop.
12, 34. 1 2 3 4-

VARIOUS MARCHES AXD STEPS

lit

5. GIANT AND DWARF MARCH AND WALKING

Gavotte, about 1730. Arranged by F. KlRK.
Change.

Giant. — Children pretend to be giants by walking on tip-toe with arms stretched
upwards as high as possible. As this exercise is very fatiguing it should only be
practised for a very short time, e.g. eight steps, then change to dwarfs.

Dwarf. — With hands on hips (hips firm; see illustration for " Hips firm"), and
knees bent outwards, walk on tip-toe eight steps. Care should be taken to keep trunk
and head in a vertical position.

After changing four times, the march should finish with ordinary walking step.

Walking. — With arms hanging loosely by sides, walk in time to the music, with
short steps, swinging legs from the hips (not from knees). The arms should not be
swung, but move slightly in rhythm with the body.

s^r e cr

RHYTHMIC GAMES AND DANCES FOR CHILDREN

6. WALTZ MARCH. Three-Step Gliding Motion

Played slowly. Old Song. Arranged by F. Kirk.

=&=4

mwimwim^-^=wm3^EtE*=m

ga^jpgj^ip=SE»=^ipj=^^^

wm^m*=mm

m=z

mmmmm

^m^m

siL-iii

EH=I

I "

Children who have mastered the tripping step and polka step will not have much
difficulty in learning the 3-step gliding motion.

Step. — 1st Bar. — 1. Put right foot forward. See
lustration 1.

2. Draw left foot up towards it, only toe touch-
ing the ground, and at the same time rise on toes with
both feet (the left toe should be touching right heel).
See illustration 2.

3. Sink on heels with both feet
2nd Bar. — 1. Step forward with left foot.

2. Bring right toe to left heel and rise on toes.

3. Sink on heels with both feet.

This may be taken in single file or in couples,
facing each other, with hands resting on shoulders,
and moving in a sideways direction, first to one side then to the other. In this case,
girls begin with left foot and boys with right foot.

Mm-

VARIOUS MARCHES AXD STEPS

7. CURTSY. (1) Quick Curtsy; (2) Slow Curtsy and Bow

This may be practi
id the slow curtsy.

:h may be described as the quick curtsy

Quick Curtsy (for illustration, see Bowing Game, page 9). — This is the easier
method, and should be taught first. It consists in placing the left heel with foot
pointing to left in front of the right toe (right foot pointing towards the right). With
feet in this position, sink the body down by bending outwards from the knees.
Head should be upright, and eyes looking at partner. This curtsy should be practised
by both boys and girls. Girl should hold out the dress, and boy place back of
hands on hips.

Slow Curtsy and Bow. — Girls. — In the
toes is drawn behind and away from the
left heel, and the body is slowly lowered
by bending the left knee. The left foot
should be fiat on the ground and should
support the weight of the body. The right
knee should be slightly bent.

Boys. — Place back of hands on hips, and
bend slowly forwards from the waist, looking
at partner.

These movements should be taken
when bowing to partners in the Round
Dance with sets. (Part 111., No. 13.)

slow curtsy the right foot resting on

5E r I

8. HIPS FIRM. DANCING POSITION FOR COUPLES

X.R.—Thi

the pi «

The command, " Hips firm," is used so often
that it is important to teach the correct position
from the start.

The illustration shows the boy in the correct
position, and the girl in the wrong position often
taken by young children.

The important points to be noticed are —

1. The elbows are in the same plane as the
trunk— not bending backwards. The thumbs are
apart at the back — not touching as sometimes taken.

2. The wrist is bent down to form a hollow, as
shown by the boy, not bent up as in girl's position.

3. The fingers are close together, and the tips
point slightly downwards.

tion of the hands for the Dwarf March.

RHYTHMIC GAMES AND DANCES EUR CHILDREN

DANCING POSITION FOR COUPLES

When dancing in couples it is much better to
hold partners as shown in the illustration, than for
the boy to place his arm round partner's waist.

9i MINUET STEP MARCH

Played slowly. Old Tunc. Arranged by F. Kirk.

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VARIOUS MARCHES AND STEPS

march and trip con

This is greatly enjoyed by children who have learnt t
and looks very effective, taken either singly or with couple:

Step. — ist Bur. — The step consists of three
ordinary walking steps to the first bar of the
music, beginning with left foot if in single file,
with outside feet if in couples.

2nd Bar. — Swing the right foot well to the
side, with toe pointing down, and keep in that
position till the end of the bar (3 beats).

yrd Bar. — Begin with right foot (the one
pointing out), and take three walking steps (right,
left, right).

4/// Bar. — Swing left foot well to side, toe
pointing down, and count 1, 2, 3.

Head. — When the right foot is pointed, the
head should be turned well over the right
shoulder, and vice versa for left foot.

Hands. — If in single file, girls may hold out
the dress with both hands, and boys place back of hands lightly on the hips.

If in couples, boy places left hand on hip, and takes hold of girl's left hand with
his right hand, while the girl holds her dress with right hand (see illustration).

10. ST. PAUL'S STEEPLE. Running March

Old Tunc. Arranged by F. Kirk.

Up on Paul's stee - pie stands

tree, As full of ap - pies as can be ; The

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then they run from hedge to hedge, Un - til they come to Lon - don Bridge

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walking march, then

DIRECTION'S. — The tune should first be played slowly
twice as quickly for running.

Position. — Arms bent upwards from the elbows, with hands closed (list). Run
ning should be practised on toes with knees bent.

i) 2

54 RHYTHMIC GAMES AND DANCES EOR CHILDREN

11. THE NATIONAL MARCH

This March is very useful for taking as a break between desk lessons. The
children should be familiar with the words, and be ready to change the steps without
help from the teacher. This will train them to listen carefully. It will also be
useful on special clays, e.g. Empire Day, St. George's Day, St. Patrick's Day, St.
Andrew's Day, &c.

To obtain a correct position for the head, it is a good plan to let the children
carry something on their heads (a ring of cardboard about 3 inches diameter, as used
for making wool balls, answers admirably).

The game spirit is thus introduced, for the children are keen to see who can keep
it on the head the longest.

Steps. — 1. Ordinary walking step — ("Rule, Britannia") England.

2. Tip-toe— (" Blue Bells of Scotland") Scotland.

3. Slow walking march — (" Wearin' o' the Green ") Ireland.

4. March by lifting knees — ("Men of Harlech ") Wales.

NATIONAL MARCH. Introducing various Steps.
Introduction. Arranged by F. KlRK.

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"Rule, Britannia." Ordinary Walking Step, with hands by sides.

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VARIOUS MARCHES AND STEPS

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the char - ter, The char - ter of the land,

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jri - tan - nia, Bri - tan - nia rules the waves,

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RHYTHMIC GAMES AND DANCES FOR CHILDREN

Blue Bells of Scotland." Walking on Tip-toe. With arms raised above head,
bend wrists in time to the music.

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gone?

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I . . . wish him safe at home.

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"Wearix' o' THE GREEN." Slow Walking March. Hands by sides. Swing

legs from the hips.
Play slowly.

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must leave thee,

My own my na

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VARIOUS MARCHES AND STEPS

" March of the Men of Harlech." With hips firm, march by lifting
knees up and pointing toes to the ground.
Words adapted.

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RHYTHMIC GAMES AND DANCES FOR CHILDREN

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Now to bat - tie we

ing, Ev' - ry heart with cour - age glow - ing ;

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From the hill and val - ley,

From the pass - es sal - ly,

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From the moun - tain's lof - ty brow, A - round your chief - tain ral - ly.

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How the hir - las loud - er, clear - er, Now for Cam - bria's

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VARIOUS MARCHES AXD STEPS

12. GOD SAVE THE KING

Dr. John Bull.

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) RHYTHMIC GAMES AND DANCES FOR CHILDREN

PART VI. APPENDIX

LIST OF GAMES AND RHYMES IN "OLD ENGLISH GAMES
AND PHYSICAL EXERCISES." By F. Kirk.

LONGM.ANS, 2S.

PART I —GAMES FOR CHILDREN UNDER FIVE

1. Ring-a- Ring of Roses.

2. Wallflowers.

3. Kneel on the Carpet.

4. Can you Guess what We are doing?

5. Clap, Clap, Altogether.

6 Lubin Loo ; or, All your Right Hands in.

PART II. GAMES FOR CHILDREN OVER FIVE

1. A Hunting We will Go.

2. Tommy was a Soldier.

3. The Big Ship Sails.

4. The Jovial Sailor Bovs.

5. The "Mulberry Bush.'

6. Nuts in May.

7. The Lost Letter.

8. Round and Round the Village.

9. When I was a Young Girl.

10. London Bridge.

11. To Push the Business on.

12. Old Roger is Dead.

13. Bingo.

PART III -GAMES WITHOUT MUSIC

1. Blackthorn.

2. Smugglers.

3. Game of Animals.

4. My Lady's Toilet.

5. Dumb Motions.

6. Hunt the Ring.

7. Ring Rope Game.

8. Twos and Threes.

9. Trencher.

10. Cat and Mouse.

11. Hen and Chickens.

12. Family Coach.

13. Musicians.

14. I Love my Love.

15. Mineral, Vegetable, ;

16. Statues.

PART IV.— MARCHING AND DANCING GAMES

1. Yankee Doodle.

2. Lucy Locket.

3. The Keel Row.

4. Country Dance : Pop Goes the Weasel.

5. Famous Duke of York.

6. The Muffin Man.

PART V NURSERY RHYMES AND PHYSICAL EXERCISES

1. Sing a Song of Sixpence.

2. Rock-a-bye, Baby.

3. Ride-a-Cock Horse.

4. Humpty Dumptv. "-- -

5. The North Wind Doth Blow.

6. See Saw, Margery Daw.

7. Three Little Kittens.

S. Girls and Boys Come out to Play.

9. I Had a Little Pony.

10. Ba-Ba, Black Sheep.
1 1 .Oh, dear ! What Can the .Matter Be:

1 2-. i Saw Three Ships.

13. jack and Jill.

'4. Little Bo-Peep.

15. Ten Little Nigger Boys.

Printed by Ballantyne, Hanson & Co.
at Paul's Work, Edinburgh

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